Although Adriana Lecouvreur could never be referred to as one of the world’s greatest operas, Anna Netrebko, Anita Rachvelishvili and Piotr Beczała give it the star treatment at the Metropolitan Opera.
This revival of the Met's 30-year-old production of Aida had a disappointing debut in the title role but Dolora Zajick's reign as Amneris is still a force of nature.
A new production of La Traviata, colorful and conventional, brings little new ideas but is a fine vehicle for a fine performance conducted by Yannick Nezet-Seguin that features a trio of excellent singers.
The second performance of the Met's Pearl Fishers saw one of the leads withdraw mid-performance again. A welcome performance by young baritone Alexander Birch Elliott could not rescue the evening.
The audience for The Met's first performance of La fanciulla del West this season arrived loaded for bear. Not only were they disappointed that Jonas Kaufmann was not singing (he's slated for shows starting 17th October), but their disappointment was heightened by the fact that tenor Yusif Eyvazov was singing.
A debuting conductor, two new singers, and a fine ensemble of singers bring unexpected joy to the Met's traditional La bohème with fresh and youthful energy.
Phelim McDermott’s new Met production is set in Brooklyn’s Coney Island in the late 1950s and is brilliantly vivid looking, but Mozart's music plays second fiddle.
Yannick Nézet-Séguin led an intriguing performance of Wagner's Flying Dutchman at the Met with a superb orchestra and an excellent ensemble of singers.
The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma. Robin Ticciati led the Met Orchestra to probe a new depth of the score.
The Met revived Beethoven's only opera Fidelio with a strong cast and excellent chorus and orchestra, with a production that celebrates liberty and love.
Mozart's Idomeneo proved to be a challenge for some of the soloists initially but the superb orchestra under James Levine brought about a successful opening evening at the Met.
About halfway through the second act of Verdi's La traviata at the opera's second Met performance of the season, soprano Sonya Yoncheva went from being a really good Violetta to being a great Violetta.
As it turned out, the second performance of the Met’s revival of I puritani was the one to see – it offered some of this season’s greatest singing – and a surprise.
The Metropolitan Opera's new produdtion of Rusalka fails to explore a deeper complexity of the fairy tale, although a strong ensemble of singers and the superb Met Orchestra make it a musically compelling performance.
Vittorio Grigòlo and Diana Damrau repeated and cemented their intense on-stage relationship at the Met in Bartlett Sher's new production of Roméo et Juliette.
Anna Netrebko scored an unmitigated success in her first Manon Lescaut at the Met, almost obliterating director Richard Eyre’s and designer Rob Howell’s misconceived production.
The return of the Met's Aida was a joyous celebration of the art form with excellent singers and orchestra doing what they do best against the backdrop of a traditional but effective staging.